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JohnS

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Everything posted by JohnS

  1. Good to hear an alternative view MJW but I don’t share your optimism. Like you and no doubt many others when the booking period opens I know what I’m wanting and am waiting for the clock to hit 9:00, hoping broadband will be working out in the sticks. I can often get my booking complete within 10 minutes. But with the new website, I can’t see how to move easily from production to production to Insight to Rehearsals etc. In planning my initial bookings or if I’m wanting to book an extra trip, I like very much to maximise the number of performances/events I can get to so as to make the most of travel and overnight stays. A functioning calendar is incredibly helpful and ideally one that can quickly provide casting information so ideally on line. The old calendar was excellent but it’s gone unless you have the IT nous to access the familiar pages which I don’t although I’m very grateful for the links provided by posters above. Whether they’ll work for Autumn booking we’ll have to see but surely the ROH should fix these problems before then?
  2. Website comments sent 14 March: I’m afraid I’m struggling to see what’s happened with the new website and particularly ‘Ticket’s and events’ rather than the very familiar, highly functional ‘What’s on’. I can’t get an over view of what’s on, I can’t get a calendar display, and I can’t access booking periods. To me functionality has been completely lost and I wonder how I’ll manage to cope when booking opens for Autumn. To be honest, I really can’t see any advantage in what’s been done. Sorry to be so negative and there may well be teething problems etc. I do hope you’ll be able to sort things. Answer received 18 March: I will be passing your feedback to our Digital team. I do know they are issuing new pages over the coming weeks and months and will be endeavouring to make the user experience as smooth as possible. I’ll be interested to see what new pages are issued but in many ways I wish the old pages were brought back - I found they gave me exactly what I wanted.
  3. Had I picked up from the broadcast Insight that Jonas Kaufmann was imminently to become a father - I might have got this completely wrong? So hopefully it may be ‘Glückwünsche’.
  4. Whilst deeply unimpressed with the new website, I’m not sure I follow bangorballetboy’s point. The new calendar for 11 June takes me to Romeo & Juliet and then the performance on 11 June. It just about works but no where near as clearly as the excellent, functional old calendar.
  5. I can appreciate there’s an irritation paying full price when neighboours may have very heavily discounted tickets but having been delighted to buy my favourite tickets as soon as booking opened, I’m just hoping there'll be a fullish house. I think it would be very disconcerting if the house were only half full. I know Ludwig II of Bavaria might have preferred private performances but a full house with an appreciative audience can massively add to the experience, particularly if also well behaved. That said, it would have been better if the ROH had thought more about pricing and more actively marketed the performances so that there were fewer discounted tickets.
  6. You’re very welcome. I wasn’t sure if there was a Ballet as I didn’t catch the programme live. Youtube is pretty good for recordings, sometimes including the score/piano transcription. But then I realised when I went to iPlayer that the tracks are all there individually to play as well as the programme. Here’s the full programme: http://www.bbc.co.uk/programmes/m0003cb9 Here’s just the Fandango: http://www.bbc.co.uk/music/records/n5d8jb Many thanks for highlighting the programme.
  7. Please do tell me it’s nothing like the Barbican’s (aptly named) Pit.
  8. Many thanks Richard - please would ROH commission you to restore sanity and advise on any ‘upgrades’?
  9. Many thanks Saodan and Richard. Given that the calendar information is still available and really clear and so useful, I take it the ROH could readily provide a link? I’m hoping the current Calendar link is not what the website designers intended and will be sorted - but as the website has gone through a fair amount of testing this is poor.
  10. I think in the Ballet we are able to empathise with the Creature - William’s death seems much more an accident than murder to me. It’s just that the reanimation scene is very rushed when there might have been opportunity to show the Creature experiencing his physical being, new limbs, the immediate surroundings etc before Frankenstein realises the Creature has come to life, is repulsed by what he sees and is appalled at what he’s done. As regards the ‘lurking’ early in Act 2, I think this is pretty effective in the theatre if you have a decent view but I do appreciate that for many seats with restricted views, it’s very unclear what is going on. Again a plea for the production team to look at perspectives other than centre Stalls, Grand Tier, Balcony etc. To me the Creature’s shadow is deliberate and chilling. In Act 3 it’s Frankenstein who is haunted by the Creature and sees him dancing with guests just as he sees Justine and William etc from the past. When Frankenstein’s haunted images are replaced by the actual Creature embarking on his blood fest, is this when the Creature is back in his original costume? I can’t recall and as James says, we’re more engaged in the dance than Frankenstein’s father’s death. Overall, my sympathies are very much for the Creature rather than Frankenstein who does nothing to help Justine when he knows she is innocent, I think more so in the Ballet than the novel where he suspects/isn’t in a position to intervene as he only arrives after Justine has been charged? But then I tend to be pro Caliban and think Prospero has a great deal to answer for.
  11. But filters seem only to work for one purchase - which will be incredibly frustrating when booking for a number of performances when a booking period opens and when ‘Calendar’ is completely blank.
  12. Thanks Richard - I’d been looking for a ‘Contact us’ link as that’s what it used to be called and is still there on other pages. All very confusing. I’m afraid I’ve drawn a complete blank with Calendar.
  13. I wouldn’t normally post from Instagram etc but thought this might lift the spirits. Schools Matinee is fast approaching 28 March and public debut 13 April.
  14. I agree - it should be accessible from the home page but it can be found on other pages: http://www.roh.org.uk/contact
  15. Can’t help thinking that the website rather complements the shambles in SW1A? Calendar is completely hopeless.
  16. Will be fascinating to see Akram Khan’s ’Creature’ and another full length production.
  17. I’m pleased it’s not just me and my lack of IT skills. I assume this development takes account of the testing some weeks ago which I’m pleased to say completely passed me by so the design choices/functionality have already had the benefit of testing/feedback etc. I always found ‘What’s on’ excellent and very much liked the detail in the calendar to plan trips. I have contacted the website people as I’m really struggling to see how I’ll cope when Autumn booking opens - fortunately some time off.
  18. I’m afraid I now see the new layout on my iPad - very confusing, can’t see what’s on, can’t see ‘booking periods’. I can’t believe this Is progress.
  19. But would then require a scene change if Frankenstein is to meet Clerval (admittedly very brief but I think useful for the narrative). https://m.youtube.com/watch?v=POFQ7gxLwdw
  20. Forza Insight 5 March News still shows ‘comments closed’ - but never opened.
  21. Very pleased to see your post ElleC and that you find Frankenstein even more impressive this time round. I don’t get to see Frankenstein until later but am very much looking forward to the 23 March matinee/evening performances. I’ve been reading the discussion with interest and am still thinking about Nogoat’s very informative post much earlier, setting out the tweaks Liam Scarlett has introduced and the defence made of the very brief encounter between Frankenstein and the Creature at the end of Act 1 (page 4 above and apologies for not quoting properly). Nogoat writes: “... it’s very clear in the book that despite the sheer intellectual achievement of his obsessive pursuit of the secret of life through the reanimation of dead tissue, Victor’s response is not elation but instant repulsion – “I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health. I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room…” The justification certainly is in the novel with Frankenstein’s minimal description of his revulsion and how he fled the room. But that is written from Frankenstien’s perspective and there’s no reference to the Creature and his response to ‘creation’. I don’t know the novel well enough but I thought the Creature years afterwards reflected on his creation/rejection when he spoke to Frankenstein so does the reanimation scene need to be solely from Frankenstein’s pretty perfunctory description? In the Ballet I think we see the Creature looking to his creator for recognition and only finding rejection. I appreciate it’s difficult to imagine the Creature having awareness/insight immediately on reanimation but could a case be made to draw on both Frankenstein’s and the Creature’s perspectives? In the Ballet it is so rushed and to me asks for a little more - nothing too elaborate but more time for audiences to appreciate the import of what’s happening. I’ll see what I think after my London trip and a couple of performances.
  22. I think the interval was standard length and very good to hear Bernard Haitink reminiscing on his early years and 65 yeas on the podium. The dvd 3 hours or whatever doesn’t start until 35 minutes in. Perhaps time stands still/goes backwards in Bruckner - even with Bernard Haitink? Quite a contrast with Meistersinger Act 3 which just flowed so freely and seemed over in no time at all.
  23. To avoid diverting R&J unnecessarily, I’ve put some thoughts about News ‘comments closed’ etc on the ‘New’ ROH thread.
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